"Parallel cinema Parallel cinema is a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood. Inspired by Italian Neorealism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in"
"French New Wave New Wave () is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine ""Cahiers du cinéma"" in the late 1950s and 1960s. Contempt for the ""Tradition de qualité"", which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, ""Une certaine tendance du cinéma français"", where he denounced the adaptation of safe literary works into unimaginative"
"type of high-minded, literary period films held in esteem at French film festivals, often regarded as ""untouchable"" by criticism. New Wave critics and directors studied the work of western classics and applied new avant garde stylistic direction. The low-budget approach helped filmmakers get at the essential art form and find what was, to them, a much more comfortable and contemporary form of production. Charlie Chaplin, Alfred Hitchcock, Orson Welles, Howard Hawks, John Ford, and many other forward-thinking film directors were held up in admiration while standard Hollywood films bound by traditional narrative flow were strongly criticized. French New Wave is"
"""My Fair Lady""), and due to attaining a mainstream level in storyline and sets, is considered the ""crown jewel"" of this 'Golden Age'. In France the New Wave was a blanket term coined by critics for a group of French filmmakers of the late 1950s and 1960s, influenced by Italian Neorealism and classical Hollywood cinema. Although never a formally organized movement, the New Wave filmmakers were linked by their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm and is an example of European art cinema. Many also engaged in their work with the social and political"
"films, calling them ""le"" ""cinéma de papa."" The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. ""New Wave"" is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Using portable equipment and"
"French impressionist cinema French impressionist cinema (first avant-garde or narrative avant-garde) refers to a group of French films and filmmakers of the 1920s. Film scholars have had much difficulty in defining this movement or for that matter deciding whether it should be considered a movement at all. David Bordwell has attempted to define a unified stylistic paradigm and set of tenets. Others, namely Richard Abel, criticize these attempts and group the films and filmmakers more loosely, based on a common goal of ""exploration of the process of representation and signification in narrative film discourse."" Still others such as Dudley Andrew"
"Cinéma pur Cinéma Pur (French for ""Pure Cinema"") was an avant-garde film movement begun by filmmakers, like René Clair, who ""wanted to return the medium to its elemental origins"" of ""vision and movement."" The term was first coined by Henri Chomette. The goal of the movement was to create a cinema that focused on the pure elements of film like motion, visual composition, and rhythm. It was begun by European filmmakers René Clair, Fernand Léger, Hans Richter, Viking Eggeling, Walter Ruttmann and others. They sought to accomplish their goal by minimizing story and plot, focusing instead on visual concerns by"
"be seen as a desperate struggle against the mainstream cinema of the time, or a degrading attack on the viewer's supposed naivety. Either way, the challenging awareness represented by this movement remains in cinema today. Effects that now seem either trite or commonplace, such as a character stepping out of their role in order to address the audience directly, were radically innovative at the time. Classic French cinema adhered to the principles of strong narrative, creating what Godard described as an oppressive and deterministic aesthetic of plot. In contrast, New Wave filmmakers made no attempts to suspend the viewer's disbelief;"
"François Truffaut François Roland Truffaut (; ; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave. In a film career lasting over a quarter of a century, he remains an icon of the French film industry, having worked on over 25 films. Truffaut's film ""The 400 Blows"" came to be a defining film of the French New Wave movement, and was followed by four sequels, ""Antoine et Colette"", ""Stolen Kisses"", ""Bed and Board"", and ""Love on the"
"films of the French New Wave, the camera was used not to mesmerize the audience with elaborate narrative and illusory images, but rather to play with audience expectations. Godard was arguably the movement's most influential figure; his method of film-making, often used to shock and awe audiences out of passivity, was abnormally bold and direct. As a result of his techniques, he is an early example of a director who was accused of having contempt for his audience (something experimental filmmakers in the decades ahead, like Stanley Kubrick and David Lynch, would also be charged with). His stylistic approach can"
"also adopted more unorthodox and experimental approaches to composition, editing and narrative. The trend borrows its name from the French ""Nouvelle vague"", a concurrent movement that similarly scrapped the established traditions of their national cinema. Unlike the French counterpart, Japanese New Wave originated within the film studio establishment in an attempt to invigorate local cinema (which was being undermined by television productions) with new ideas from young directors. Failing to thrive within the studio system, these filmmakers eventually formed independent production companies. Most notably, Art Theatre Guild significantly boosted the movement by producing and distributing several of the most renowned"
"Jean-Luc Godard Jean-Luc Godard (; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He rose to prominence as a pioneer of the 1960s French New Wave film movement. Like his New Wave contemporaries, Godard criticized mainstream French cinema's ""Tradition of Quality"", which ""emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation."" As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. In 1964,"
"requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. Alexandre Astruc's manifesto ""The Birth of a New Avant-Garde: The Camera-Stylo"", published in ""L'Écran"" on 30 March 1948, outlined some of the ideas that were later expanded upon by François Truffaut and"
"biggest innovations. Although he had initially followed the popular trend of the time by making mainly actuality films (short ""slice of life"" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his ""scènes composées"" or ""artificially arranged scenes."" The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French ""féerie"" stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage"
"voted Best French Film of the Century in a poll of 600 French critics and professionals in the late 1990s. In the magazine ""Cahiers du cinéma"", founded by André Bazin and two other writers in 1951, film critics raised the level of discussion of the cinema, providing a platform for the birth of modern film theory. Several of the ""Cahiers"" critics, including Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and Éric Rohmer, went on to make films themselves, creating what was to become known as the French New Wave. Some of the first films of this new movement were"
"Godard described his and his colleagues' impact: ""We barged into the cinema like cavemen into the Versailles of Louis XV."" He is often considered the most radical French filmmaker of the 1960s and 1970s; his approach in film conventions, politics and philosophies made him arguably the most influential director of the French New Wave. Along with showing knowledge of film history through homages and references, several of his films expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about"
"by using the innate dynamism of the motion picture film medium to overturn conventional Aristotelian notions of time and space. The movement also encompasses the work of the feminist critic/cinematic filmmaker Germaine Dulac, particularly ""Thème et variations"", ""Disque 957"", and ""Cinegraphic Study of an Arabesque"". In these as well as in her theoretical writing, Dulac's goal was ""pure"" cinema, free from any influence from literature, the stage, or even the other visual arts. It declares cinema to be its own independent art form that should not borrow from literature or stage. As such, ""pure cinema"" is made up of nonstory,"
"the ""Cahiers du cinéma"". It argues that ""cinema was in the process of becoming a new means of expression on the same level as painting and the novel ... a form in which and by which an artist can express his thoughts, however abstract they may be, or translate his obsessions exactly as he does in the contemporary essay or novel. This is why I would like to call this new age of cinema the age of the ""caméra-stylo."""" Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette,"
"(1950s–60s), Spaghetti Western (1960s) and Novo Cinema (1960s–70s). The turn of the 21st century has seen movements such as Dogme 95, New French Extremity and the Romanian New Wave. Antoine Lumière realized, on 28 December 1895, the first projection, with the Cinematograph, in Paris. In 1897, Georges Méliès established the first cinema studio on a rooftop property in Montreuil, near Paris. According to one study, ""In the 1900s the European film industry was in good shape. European film companies pioneered both technological innovations such as projection, colour processes, and talking pictures, and content innovations such as the weekly newsreel, the"
"Signoret, Yves Montand, and Brigitte Bardot, whose films reached a global audience. The late 1950s saw the birth in the city of the ""Nouvelle Vague"", or ""New Wave"" of cinema; led by a group of young directors who rejected the methods of Hollywood and who shared their ideas in a journal called the ""Cahiers du Cinema."" The landmark films of the New Wave were the ""400 blows"" by François Truffaut (1959), ""Hiroshima mon amour"" by Alain Resnais (1959) and ""Breathless"" by Jean-Luc Godard (1960). Other prominent New Wave directors included Claude Chabrol, Éric Rohmer, and Jacques Rivette. Paris-based directors outside"
"exclusive and included only Truffaut, Chabrol, Rivette, Rohmer and himself, stating that """"Cahiers"" was the nucleus"" of the movement. Godard also acknowledged filmmakers such as Resnais, Astruc, Varda and Demy as esteemed contemporaries, but said that they represented ""their own fund of culture"" and were separate from the New Wave. Many of the directors associated with the New Wave continued to make films into the 21st century. The movies featured unprecedented methods of expression, such as long tracking shots (like the famous traffic jam sequence in Godard's 1967 film ""Week End""). Also, these movies featured existential themes, such as stressing"
"in addition to dealing with serious themes such as the loss of freedom, the film features beautiful images and long, complicated shots. The 1960s was an important period in art film, with the release of a number of groundbreaking films giving rise to the European art cinema. Jean-Luc Godard's ""À bout de souffle"" (""Breathless"") (1960) used innovative visual and editing techniques such as jump cuts and hand-held camera work. Godard, a leading figure of the French New Wave, would continue to make innovative films throughout the decade, proposing a whole new style of film-making. Following the success of ""Breathless"", Goddard"
"their self-conscious rejection of classical cinematic form and their spirit of youthful iconoclasm, and their films are an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style and narrative part of a general break with the conservative paradigm. Some of the most prominent pioneers among the group, including François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette, began as critics for the film magazine ""Cahiers du cinéma"". Auteur theory holds that the director is the ""author"" of his films,"
"the artistic distinction and greatness of Hollywood studio directors such as Orson Welles, John Ford, Alfred Hitchcock and Nicholas Ray. The beginning of the New Wave was to some extent an exercise by the ""Cahiers"" writers in applying this philosophy to the world by directing movies themselves. Apart from the role that films by Jean Rouch have played in the movement, Chabrol's ""Le Beau Serge"" (1958) is traditionally (but debatably) credited as the first New Wave feature. Truffaut, with ""The 400 Blows"" (1959) and Godard, with ""Breathless"" (1960) had unexpected international successes, both critical and financial, that turned the world's"
"as a filmmaker as opposed to being a director, and he loved making abstract visual movies that create emotions purely through cinema. This is a partial list of examples of Cinéma pur or Pure Cinema. For more examples, see the Cinéma pur / Pure Cinema template below. Cinéma pur Cinéma Pur (French for ""Pure Cinema"") was an avant-garde film movement begun by filmmakers, like René Clair, who ""wanted to return the medium to its elemental origins"" of ""vision and movement."" The term was first coined by Henri Chomette. The goal of the movement was to create a cinema that focused"
"the individual and the acceptance of the absurdity of human existence. Filled with irony and sarcasm, the films also tend to reference other films. Many of the French New Wave films were produced on tight budgets; often shot in a friend's apartment or yard, using the director's friends as the cast and crew. Directors were also forced to improvise with equipment (for example, using a shopping cart for tracking shots.) The cost of film was also a major concern; thus, efforts to save film turned into stylistic innovations. For example, in Jean-Luc Godard's ""Breathless"" (""À bout de souffle""), after being"
"in the power of individual actors also contributed to the decline of traditional Hollywood studio production. There was also an increasing awareness of foreign language cinema in America during this period. During the late 1950s and 1960s, the French New Wave directors such as François Truffaut and Jean-Luc Godard produced films such as ""Les quatre cents coups"", ""Breathless"" and ""Jules et Jim"" which broke the rules of Hollywood cinema's narrative structure. As well, audiences were becoming aware of Italian films like Federico Fellini's ""La Dolce Vita"" and the stark dramas of Sweden's Ingmar Bergman. In Britain, the ""Free Cinema"" of"
"roughly between 1958 and 1964, although New Wave work existed as late as 1973. The socio-economic forces at play shortly after World War II strongly influenced the movement. Politically and financially drained, France tended to fall back on the old popular pre-war traditions. One such tradition was straight narrative cinema, specifically classical French film. The movement has its roots in rebellion against the reliance on past forms (often adapted from traditional novelistic structures), criticizing in particular the way these forms could force the audience to submit to a dictatorial plot-line. They were especially against the French ""cinema of quality"", the"
"simply unknown in the West, and led to the development of the auteur theory. The directors the French cinephiles of the period had strong interests in included F. W. Murnau, Robert Flaherty, Sergei Eisenstein, Jean Renoir, Jean Vigo, Orson Welles, Anthony Mann, Louis Feuillade, D. W. Griffith, the Lumière Brothers, Alfred Hitchcock and Georges Méliès, whose films would be screened from nitrate prints on special occasions. With the popular success of the French New Wave, film-going became fashionable in Europe and America. Revival screenings and independently run cinemas specializing in foreign films became increasingly common. In the United States, New"
"New French Extremity New French Extremity (New French Extremism or, informally, New French Extreme) is a term coined by ""Artforum"" critic James Quandt for a collection of transgressive films by French directors at the turn of the 21st century. The filmmakers are also discussed by Jonathan Romney of ""The Independent"". Quandt associates François Ozon, Gaspar Noé, Catherine Breillat, Bruno Dumont, Claire Denis' ""Trouble Every Day"" (2001), Patrice Chéreau's ""Intimacy"" (2001), Bertrand Bonello's ""The Pornographer"" (2001), Marina de Van's ""In My Skin"" (2002), Leos Carax's ""Pola X"" (1999), Philippe Grandrieux's ""Sombre"" (1998) and ""La vie nouvelle"" (2002), Jean-Claude Brisseau's ""Secret Things"""
"Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1960s. French New Wave films and the non-narrative films of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its Dada and surrealist predecessors, French New Wave editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding the audience that they were watching a film), and by the overt use of jump cuts or the insertion of material not often related to any narrative."
"of his death, he still had numerous films in preparation. His goal was to make 30 films and then retire to write books for his remaining days. He was five films short of his personal goal. He is buried in Paris' Montmartre Cemetery. François Truffaut François Roland Truffaut (; ; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic. He is widely regarded as one of the founders of the French New Wave. In a film career lasting over a quarter of a century, he remains an icon of the French"
"European avant-garde films. Working in France, another group of filmmakers also financed films through patronage and distributed them through cine-clubs, yet they were narrative films not tied to an avant-garde school. Film scholar David Bordwell has dubbed these French Impressionists, and included Abel Gance, Jean Epstein, Marcel L'Herbier, and Dimitri Kirsanoff. These films combine narrative experimentation, rhythmic editing and camerawork, and an emphasis on character subjectivity. In 1952, the Lettrists avant-garde movement in France, caused riots at the Cannes Film Festival, when Isidore Isou's ""Traité de bave et d'éternité"" (also known as ""Venom and Eternity"") was screened. After their criticism"